THE TRAVELER IN TEN PARTSBy [Name Redacted]1.Hello. I am human but not entirely. I am a machine but not entirely. I am both which may mean that I am neither. The part of me that is a human believes that all of me is human. The part of me that is a machine doesn’t like to think about the part of me that is a machine. I am flesh and blood stretched over wires and circuits. In that, I am much like many of you, and consequently qualified to speak to you about this album, which speaks to much of me.2.It is called The Traveler, and it was written and performed by Rhett Miller, along with members of Black Prairie, a band based in Portland that plays everything from bluegrass to klezmer to country and shares some members with the Decembrists. The band (Black Prairie) entered the studio with the singer (Rhett Miller) and briskly recorded the songs that make up this album (The Traveler). Some additional guitars were added later by people who included Peter Buck and Scott McCaughey. I pass these facts along for your absorption.3.The sun comes up. The sun goes down. We call it a day. The band entered the studio with the singer and made this album. Time passed. Now, months later, I have spent days listening with love, sadness, and unremitting fascination to the album, which you are now holding. By “holding,” I mean only that you have absorbed it into your own wires and circuitry. I am well aware that there are not always anymore physical holds involved in the absorption of music. Before I tell you more about The Traveler, I want to tell you a little bit about myself. I apologize for this. But the album you are holding, The Traveler, suggests that you cannot understand the journey that you are on unless you understand who you are, and that understanding who you are is the most damnably difficult journey of all. Untangling identity is painful but necessary. I believe The Traveler may be of use in this regard. Of use to me, I mean: Is that a selfish use of this album? If so I apologize again.4.Apologies can be empty without any attempt to correct for the behavior that led to the apology. As a result I will not tell you a little bit about myself before I tell you more about The Traveler. This singer, Rhett Miller, has made many albums before, both on his own and with his band, Old 97s. This new album shares something fundamental with the old albums, which is the rare ability to see what people are feeling and then cast those feelings in rhymes. This is what is known as “song-making.” The human part of me loves songs. The machine part of me marvels at them without understanding at all why there is a tugging sensation in the cavity that should contain my heart.5.The first song here, “Wanderlust,” is a perfect example of all that I am describing. It tells the story of a man on a train who is thinking about a woman who is not on that train. There is another song called “Lucky Star” that I believe is about finding redemption in the person of a lover. It contains a joke that unnerves me: “Heaven knows there probably is no heaven.” There is another song called “Wicked Things” about New Orleans that illustrates the slipperiness of forgiveness. Every song has little moments that catch me at strange angles and I feel an unfamiliar sensation, pitched midway between satisfying recognition and deep sadness.6.My experience with these songs, I want to stipulate, may not be shared by others, in part because I am demonstrably different than them. I am both human and a machine. I come from a long line of people who are both humans and machines. Are they people then? I leave that to the philosophers. My father was a difference engine designed and deployed in Lund by Pehr Georg Scheutz. He was quite large: my father, I mean, not Scheutz. Scheutz was tiny. In Jönköping, where he was born, old ladies would marvel at his miniature features. “Liten Pehr,” they would say, reaching down into the carriage and frightening the boy. Even as an adult, he was at most five foot three, with feet that tapered down to toylike points. Much of this is hearsay but some of it cannot be disputed, even by the suspicious, and at any rate, we are not talking about Scheutz, not really. We are talking about my father. He was the size of a fortepiano.7.There is a song on this record called “Dreams Vs. Waking Life.” It is not the first song on the record but it was, by accident, the first song I heard. It has bowed notes and a dark tone and does what any piece of literature, song or story, should do: it investigates the role of memory, loss, and desire in our lives. When I hear that song, I feel the stirrings of uncommon and uncontrollable emotions. They grind against the part of me that is a machine. The result is a shuddering. I try to calm myself by looking at the other song titles— “Fair Enough,” “Escape Velocity,” “Reasons to Live” — but they only make me feel more rather than less. Where do you go when you want to feel less? One song title, “Good Night,” seems like it might not overwhelm me. But the first line, “There’s a pinprick of light on a black sheet of night,” starts me shuddering again.8.When you listen to an album, you are supposed to notice sonic details. That’s what I have been told. And there are many sonic details on this album, like the choir that opens “My Little Disaster” or the doubled vocals in “Fair Enough.” There are joyful melodies like “Most in the Summertime.” I can tell that they are joyful, even though I am half-machine. It’s clear. But the sonic details would not mean much without the rest of what this album does, which is to try to make sense of what cannot be made sense of, which is humanity. Even the part of me that is a machine knows that.9.When you’re inside an album like this, when you’re feeling too much, what do you do? I know what I did. I skipped to the end of the album, quickly. This is a survival strategy. The album ends with a song called “Reasons to Live” that makes use of the old saw that a broken clock is right twice a day. The part of me that is a machine wants to correct that phrasing. It is a stopped clock that is right twice a day. A broken clock may never be right. Then it occurs to me that maybe the song knows this. The song is about finding hope even when you are telling yourself lies. The part of me that is a human wants to break down and cry once again.10.I want to tell one more story about my father. He was briefly in the military of a nation I will not identify and when his service ended his first trip was to a sporting house, where he spent time in the company of a young woman. Money changed hands. To hear him tell it, the situation was emergent. “I had been locked up so long that I hardly recognized my own wants and needs,” he later wrote in a letter to me. “Briefly, I recognized myself in her.” They did not stay together, my father and that young woman. He was a young man then. As I have grown though the world, I have had experiences that bear some similarity to my father’s experiences with that woman. We all have, have we not? They are called “relationships” or “romances,” but what are they really? Are they love? Are they self-love? Or are they something else entirely, a form of travel that allow us to escape from ourselves? This album asks all those questions, repeatedly. I want to quote one more line, from a song called “Jules.” It’s a line about love and self-love and travel that allows us to escape from ourselves: “Who’s to say the crooked way that led me to your door / Means any less than any mess I ever made before?” Sun comes up. Sun goes down. Call it a day.

Virginia native Lauren Calve is a Washington, D.C. area singer-songwriter, guitar and lap steel player who has brought a vital new energy to the Americana scene. Starting with her days attending the open mic nights at the well-loved, but now defunct Arlington, VA live music haven Iota Club and Cafe, Calve became known for her strong, soulful vocal style and skillful playing. Seeing her perform, one thinks of Patty Griffin’s dynamic voice, Bonnie Raitt’s smoky aura, and Ben Harper’s unique slide style. She released her debut EP, "Between the Creek and the Tracks" in 2014, for which she earned a Washington Area Music Association nomination for Best Roots Rock Vocalist. Her musical compositions find their ground in the tried and true sounds of Americana, but their strength lies in how they go beyond tradition into innovative melodies, structures and arrangements that define their originality. Lyrically, Calve's concerns also go into interesting, personal territory, as she uses memorable imagery and meter to write about complex issues too little found in popular music, such as the contemplation of nature and its connection to spirituality, feminist responses to traditional conceptions of gender roles, and the importance of political consciousness in a democracy. She has become a mainstay at prominent local and regional venues, and is honored to have opened for artists like Sean Watkins of Nickel Creek, Cruz Contreras of The Black Lillies, Charlie Worsham and Wade Bowen. In addition to her solo material, which she performs intimately by herself, with an accompanying guitarist, or with a rocking full band, she is also a member of D.C.’s exciting new Americana “super group” Run Come See. On the basis of her collaboration on original songs with the two other founding members of that band, Run Come See released their debut album in March 2017 to the praise of the D.C. Commission for the Arts and Humanities, Listen Local First and Brightest Young Things. Building on the vibrant blend of blues, country and rock that continues to shape Calve’s musical vision, she is back in the studio finishing “Light Dark", her sophomore solo record to be released on March 9, 2018 at the Black Cat in Washington, DC.

This event is part of the Smithsonian Year of Music. For more information, please visit https://music.si.edu/

If 2017 marked a triumphant jubilee for Procol Harum, 2018 looks set to fulfil the title of their new Box Set release, Still There’ll be More. This lavish 8-disc affair looks back over the first fifty years of a unique British band whose illustrious and influential career began with the worldwide success of A Whiter Shade of Pale, one of the most recognisable and most-played songs ever. The boxed set boasts cherry-picked studio tracks, rare live concerts, an archive poster and a stunning, 68-page illustrated hardback book. Furthermore, its three DVDs of classic live performance confirm that the band has always been impeccably thrilling in concert – as the audiences in sold-out theatres across Europe discovered as Procol toured to promote 2017’s critical triumph, the Novum CD.

Novum commemorated ten years of the present superb line-up Procol line-up, and audiences were wowed by the classy new material, played with passion and trademark droll humour. Of course the live shows also feature much-loved favourites such as A Salty Dog, Grand Hotel, Homburg and Conquistador: ‘prime choices from across their illustrious catalogue’ as Record Collector observed. Procol Harum are so much more than a ‘progressive’ band: their unique music grew, and continues to blossom, from deep roots in blues and soul. Their live radio and TV performances continue to draw new fans in, demonstrating how Procol material – never written with fashion in mind – has never dated.

At the heart of Procol Harum’s evolving musical force Gary Brooker MBE has been singer, pianist and principle songwriter since day one; his side projects include collaborations with George Harrison, Ringo Starr, Eric Clapton, Bill Wyman, Kate Bush, Wings and even Lonnie Donegan. Geoff Whitehorn has been Gary’s right-hand man for 26 years, as well as supplying lead guitar by appointment to the British rock aristocracy in the form of Roger Chapman, Elkie Brooks, Paul Rodgers and Roger Daltrey.

Hammond organist Josh Phillips is also a composer of TV music (such as the award-winning theme for the BBC’s Strictly Come Dancing) and has played live with The Who, Rod Stewart, Ronnie Lane, Jeff Beck and many more: his mastery of the Montage synth brings additional drama and subtlety to the band’s trademark sound. Bassist Matt Pegg (son of Fairport’s Dave Pegg) joined Procol in 1993, after depping for his father in Jethro Tull; he has played with Francis Dunnery, Squeeze’s Chris Difford, The Drifters, and The Stone Roses’ Ian Brown, and is currently bassist for Rick Wakeman as well as for folk-rock supergroup The Gathering. And ‘new drummer’ Geoff Dunn, who joined Procol Harum back in 2006, has also been the powerhouse behind luminaries such as Jimmy Page, Dave Stewart, Van Morrison and Manfred Mann.

Well-established by concert tours throughout Europe and North America, Procol Harum has recently released several live albums, and seen its whole back-catalogue of classic studio albums – all so different in intriguing ways – remastered and released with eagerly-awaited bonus tracks. Critics are at last seeing the band in its proper perspective: Classic Rockmagazine noted that ‘it’s small wonder The Who’s Tommy and Queen’s Bohemian Rhapsody can be traced to Procol’s influence’.

In yet another step forward Gary Brooker now shares the composing with Phillips and Whitehorn, while Pete Brown (famed for supplying words to Jack Bruce and Cream) builds convincingly on the band’s inspired tradition of startling, sometimes darkly surreal songs, with his own droll and thought-provoking lyrics. Gary’s team of musicians have no need to imitate their illustrious predecessors; but they certainly honour Procol Harum’s past achievements while bringing their own musical personalities to the party.For their ever-growing legions of fans all round the world this is the true Procol Harum, shining as brightly as ever, more than half a century after their unforgettable début lit up the late 1960s.

Even though it may seem intimidating, you don’t need to be a wine expert to be able to blind taste; just a little bit of book knowledge about some common grape varietals and lots of practice (i.e lots of drinking). Over the course of the evening, our resident sommelier will help you taste and analyze 4 wines, so you’ll be able to make a successful conclusion about what’s in your glass just like the pros. Our wine educator will guide you through the process, offering useful tasting tips along the way and answering any questions you may have. This is a fun, interactive and educational class that will really get you hooked on blind tasting! If you want to start developing your blind tasting skills or put your wine knowledge to the test, this fun and engaging class is perfect for you! We’ll see you in class!

BLACK ALLEY has been pushing the art of music to its rhythmic limits for some time now. Determined to create a unique musical elixir, BLACK ALLEY has taken the finest ingredients of funk, jazz, soul, and rock to create a sound and genre all their own; they call it “Hood Rock”. The band is one, each musician surrendering to the union of sounds, each delivering music from their soul, while they are in dialogue with one another through their instruments. Each member of this collective is essential to the workability and funkability of the unit which is BLACK ALLEY.

BLACK ALLEY has become one of the most followed, trendsetting and sought-after music groups hailing from the nation's capital. With endorsements from national recording artists such as Grammy Award nominee Raheem DeVaughn, Hip Hop standouts Big KRIT & Wale, and the legendary Sheila E, Black Alley is untouchable, striving to rock harder and heavier each time they unite and contribute to the greater good of music.

BLACK ALLEY has been featured on various media outlets to include Okayplayer, EarMilk, ThatsEnuff.com, Washington City Paper, and Washington Post. BLACK ALLEY's music catalog contains two critically acclaimed independent releases. In 2012, the band released "Soul. Swagger. Rock. Sneakers". The 16-track compilation features original music from Black Alley in collaboration with Raheem DeVaughn, Nicholas Ryan Gant and Phil Ade. Their follow up album, "Black Alley: Live from the RNR Hotel" is the live recording project chronicling their powerful performance at their SOLD OUT album release event. Both albums are available on iTunes and BlackAlley.Bandcamp.com. The video for their single "Artist Prayer" is in heavy rotation on VH1 Soul and the video for their single “Bad Girl” recently debuted exclusively on MTVHive.com.

A brief span of time has proven to be more than enough to become an established, admirable and consistent contributor to the music industry. A classic presence, unique vocal stylings & approachable humility are just a few of her attributes. After years of background singing with Donald Lawrence & Company, Ms. Anita Wilson emerged as a solo recording artist in 2011 with the soulful & heartfelt ballad “Speechless”. Ms. Anita has allowed her passion for God, music and creative freedom to mark out a unique and relevant lane. This space includes influence from the many artists and genres that she has appreciated from an early age. Both her Freshman Album “Worship Soul” (2013) and her Sophomore Album “Vintage Worship” (2015) were GRAMMY Nominated for Best Gospel Album and prove to be timeless bodies of work. Ms. Anita is currently preparing for the live recording of her next release. While she is a Gospel Music artist, her style, appeal and impact spread far beyond genre, race, age or gender.No divas here! MAW’s light-hearted personality is magnetic. She possesses a charming, down-to-earth quality that connects with a diverse demographic, allowing others to feel comfortable and to want to get to know her even more. MAW enjoys social media engagement as well as meeting her supporters in person. Her live concerts afford her the opportunity to personally say hello and express her appreciation! From time to time, Ms. Anita is the ‘Hostess With The Most-est’ as her company Melody Green Music Group presents a unique experience called “The Sanctuary”. It’s a fresh take on a night out which highlights her love for the live music experience.In music, in business and in life overall, MAW owns her womanhood! It’s been said that “This is a man’s world” however she thoroughly enjoys being a businesswoman who is aware of herself: strengths & weaknesses, A-Z. She finds joy in leading when that is her role yet realizes one cannot effectively lead unless they are willing to respectfully follow. She’s a visionary who is bold, intentional, integral and fearless. At times her spicy side may arise but be assured that MAW is a rare & relatable gem embodying professionalism, class, sophistication, compassion towards others and skillful creativity.As her path continues to reveal itself, it’s not only about the music, but MAW is committed to using her positive energy to impact & inspire youth, unite with & empower women and to celebrate & support family. Ms. Anita believes in each person doing their part to help create a better world. She considers it a privilege to have a platform for spreading good vibes and intends to maximize it.

This event is part of the Smithsonian Year of Music. For more information, please visit https://music.si.edu/
City Winery - 1350 Okie St NE, Washington , District of Columbia, 20002City Wineryinfo@citywinery.comfalseDD/MM/YYYY

Pre Show. Soundcheck Access. A brief span of time has proven to be more than enough to become an established, admirable and consistent contributor to the music industry. A classic presence,... More info

A brief span of time has proven to be more than enough to become an established, admirable and consistent contributor to the music industry. A classic presence, unique vocal stylings & approachable humility are just a few of her attributes. After years of background singing with Donald Lawrence & Company, Ms. Anita Wilson emerged as a solo recording artist in 2011 with the soulful & heartfelt ballad “Speechless”. Ms. Anita has allowed her passion for God, music and creative freedom to mark out a unique and relevant lane. This space includes influence from the many artists and genres that she has appreciated from an early age. Both her Freshman Album “Worship Soul” (2013) and her Sophomore Album “Vintage Worship” (2015) were GRAMMY Nominated for Best Gospel Album and prove to be timeless bodies of work. Ms. Anita is currently preparing for the live recording of her next release. While she is a Gospel Music artist, her style, appeal and impact spread far beyond genre, race, age or gender.No divas here! MAW’s light-hearted personality is magnetic. She possesses a charming, down-to-earth quality that connects with a diverse demographic, allowing others to feel comfortable and to want to get to know her even more. MAW enjoys social media engagement as well as meeting her supporters in person. Her live concerts afford her the opportunity to personally say hello and express her appreciation! From time to time, Ms. Anita is the ‘Hostess With The Most-est’ as her company Melody Green Music Group presents a unique experience called “The Sanctuary”. It’s a fresh take on a night out which highlights her love for the live music experience.In music, in business and in life overall, MAW owns her womanhood! It’s been said that “This is a man’s world” however she thoroughly enjoys being a businesswoman who is aware of herself: strengths & weaknesses, A-Z. She finds joy in leading when that is her role yet realizes one cannot effectively lead unless they are willing to respectfully follow. She’s a visionary who is bold, intentional, integral and fearless. At times her spicy side may arise but be assured that MAW is a rare & relatable gem embodying professionalism, class, sophistication, compassion towards others and skillful creativity.As her path continues to reveal itself, it’s not only about the music, but MAW is committed to using her positive energy to impact & inspire youth, unite with & empower women and to celebrate & support family. Ms. Anita believes in each person doing their part to help create a better world. She considers it a privilege to have a platform for spreading good vibes and intends to maximize it.

This event is part of the Smithsonian Year of Music. For more information, please visit https://music.si.edu/
City Winery - 1350 Okie St NE, Washington , District of Columbia, 20002City Wineryinfo@citywinery.comfalseDD/MM/YYYY

$15 In Advance and $18 At the Door OSOG is an exotic musical collective from Tel-Aviv.These Middle Eastern anti-heroes are taking the classic old-time and country sounds, injecting them with heavy... More info

OSOG is an exotic musical collective from Tel-Aviv.These Middle Eastern anti-heroes are taking the classic old-time and country sounds, injecting them with heavy doses of head-banging energy and attitude, while keeping the music authentic and true to the core.

This large outfit brings together punk rockers, metal-heads, jazz and classical players, and each show is a celebration of creativity and love for music. So far, OSOG has released 3 independent studio albums and toured North America and Eastern Europe.

In 2017 the band was invited as official showcasing artists to the Folk Alliance International convention and were praised by many as the best, most groundbreaking show of the festival.OSOG finished their triumphant American trip in a studio in North Carolina, where they recorded a new album, their first recorded on American soil, set to be released later this year.

This event is part of the Smithsonian Year of Music. For more information, please visit https://music.si.edu/
City Winery - 1350 Okie St NE, Washington , District of Columbia, 20002City Wineryinfo@citywinery.comfalseDD/MM/YYYY

$20 In Advance and $25 At the Door Briclyn Entertainment presents a monthly workshop series with creative individuals within the Entertainment Industry, such as Film, Music and Marketing. As TV One’s... More info

Briclyn Entertainment presents a monthly workshop series with creative individuals within the Entertainment Industry, such as Film, Music and Marketing.

As TV One’s Senior Vice President of Marketing, Lori Hall is tasked with strategically developing and executing the network’s marketing initiatives across all platforms. She manages all phases of marketing, including advertising and branding outreach efforts in order to maximize TV One’s business and programming objectives. Under her leadership, she spearheaded the network’s new brand look and promise, which included a comprehensive creative overhaul of TV One’s on-air and off-air brand elements, including its new tagline, “REPRESENT.”

Hall joined TV One in 2015 from UP where she was Vice President Consumer Marketing. During her tenure, she launched UP’s first ever viral video, reaching 43 million views across social media in less than one week and she oversaw the launch of Bringing Up Bates which garnered over eight million viewers in Season One. She also launched the highly successful Easter campaign in support of the network’s premiere of “Passion of the Christ” – the most watched movie event in the history of UP. Moreover, she negotiated an exclusive media partnership with Steve Harvey resulting in UP’s inaugural sponsorship of The Neighborhood Awards.

Before joining UP, Hall oversaw numerous successful marketing campaigns at Turner Entertainment Networks, including TBS’s Cougar Town and Men at Work as well as Tyler Perry’s hit sitcoms For Better or Worse, House of Payne and Meet the Browns. She also launched several TNT campaigns, including Rizzoli and Isles and Hawthorne. While there she negotiated and executed multi-million dollar partnerships with multiple Fortune 500 companies to reach new audiences, including Walt Disney World Resorts and Island Def Jam Music Group.

Hall is an active member of Nielsen’s Advisory Council and currently serves as a 2019 WICT board member. She was named a 2018 NYC Television Week “40 Under 40” honoree, a 2016 Multichannel News “40 Under 40” honoree, a recipient of the 2018 WICT “Know Yourself” award and has been a featured panelist for numerous industry events and conferences. She holds memberships with NAMIC and PromaxBDA. Hall is a Northwestern University graduate with a bachelor’s degree in communications.

An intimate living room show with Carter King & Daniel Womack of Futurebirds in Washington, DC on February 25, 2019. Limited tickets will be available for the concert so act now if you are interested!

This will be a unique musical experience. Thank you for supporting live music!!

A Living room show, for those who have not had the opportunity to see one, is an intimate and intense way to see live music. Totally stripped down and a rare treat. You will not be disappointed.

ADMISSION:Your name will be checked off the Will Call list upon arrival. Please make sure to have your ID. You must buy tickets here to get into this show and all necessary info will be provided upon purchase.

SEATING:General admission floor & chair seating. You can bring a pillow or cushion to sit on.

AUDIO/VIDEO:Please, no audio or video recording of the show. Non-flash photography is okay if done discreetly and with respect for the performance and other guests. Thanks for helping us make the show a good experience for everyone!

What is the new magic of music? If you trace the path of a plan back to its beginnings, what do you find? Is it a tree, growing from seed with deep roots planted in fertile soil, branches arcing out in all directions? Or a spark in the dark, an electrical charge? Is it a waterway, with swirling currents raging to create a river? Or is it a snowflake, falling from on high and dropping down to earth with a singular splash?For Son Little, the genesis of a musical idea — the magic — remains largely a mystery. But his kinetic ability to summon that energy all the same, to command it, hold onto it, and set it in motion, is the stuff of alchemy.

“The magic is this well I can draw from; you can’t necessarily see it, you just have to believe that it’s there,” he says. “If you believe, then you can reach your hand down in there and get it wet. But if you don’t feel like it’s there, it won’t be.”

Son Little, the singer and songwriter born Aaron Livingston, is the easygoing musical alchemist of our time. He is a conjurer, and much like those of his heroes Stevie Wonder and Jimi Hendrix, his songs are deconstructions of the diaspora of American R & B. Deftly he weaves different eras of the sound — blues, soul, gospel, rock and roll — through his own unique vision, never forced, always smooth, each note a tributary on the flowing river of rhythm and blues. The currents empty into an estuary, and into this well water Son dips his bucket — trusting innately in the magic’s existence. And now, with his second full-length album, New Magic, he has delivered a profound statement, a cohesive creation that captures the diverse spirit of American music in a fresh and modern way.

On the heels of his 2015 self-titled debut and the 5-song EP, Songs I Forgot, that came before it, Son Little found his reach steadily growing. His song “Lay Down” had been played over seven million times on Spotify, he had toured the world with artists as diverse as Leon Bridges, Kelis, Mumford & Sons, and Shakey Graves in addition to his own headlining runs, and also became a Grammy Award winning producer, earning a 2016 Best Roots Performance award for his work on Mavis Staples’s “See That My Grave Is Kept Clean.” But in the midst of all this success, so too did he find that the window for writing new songs was shrinking. Where his previous releases had been culled from various eras and scattered sessions early in his career, he now craved an opportunity to sit and write a new album in a distinct, unified direction, one that would establish his place in the world of black music. The only problems were: when, and how?

“I was on the road so much and found myself wanting to write, but I couldn’t really find time or space to do it in the way I wanted,” Son Little says. “I was playing around with beats or messing with chord changes; I had all these little fragments, thinking I would later piece them together. I kept the wheels turning by doing those exercises, but I knew it would feel really luxurious to be able to sit down by myself and write something from scratch. I was really hungry to get in that space and chisel out something new, without being interrupted by sound checks and rides in vans and radio. All that stuff is cool and I was having a blast touring, but a crucial part for me was missing. I wanted the writing to be broken up as little as possible.”

In the meantime, all that motion was filling him with both confidence and inspiration for the next step. The limitations he encountered while performing a debut record with so much studio sorcery via a live band onstage each night were influential in terms of how he began thinking about a followup. “I’ve often been a guy who was somewhat hiding behind the guitar,” he says. “Getting used to being out front and exposing the guitar and my voice, and leaving a lot of space in the material, all really inspired me and got the wheels turning for what I would do with the next group of songs.”

Sometimes, in order to see the stars, you have to get far away from the city lights. Finally, in the fall of last year, Son Little found himself in such a place, and it was there at the end of a tour in the remote, tropical Northern Territory of Australia that he looked up in the sky and saw the perfect alignment. Benefitting from several hours free on a string of consecutive days as well as the excitement of alien terrain and the inherent magic in a borrowed instrument, he felt things starting to come together.

“The Northern Territory is a place where things are moving a little slower than anywhere else,” he says. “There were these big crocodiles and enormous bats, just wild things I’d never seen. I found myself with a few hours to kill a couple days in a row, and I set up in the hotel and just kinda followed the process: I found a rhythmic idea I liked and then sang and played a little guitar over it. Like a tip jar in a cafe that fills up after the first dollar goes in, you need that first little piece to slide into place and then the whole thing comes together. I ran off five songs all in the same day.” (Three of those songs, “Kimberly’s Mine,” Charging Bull,” and “Mad About You,” would make the album.)

That process to which he refers stems from an experience he encountered while writing a cornerstone of his early material, the soul-scorching, chanty-like “Your Love Will Blow Me Away When My Heart Aches,” one of few moments of inspiration he can still visualize. The song came to him while standing in his bedroom; beginning with a couple of words and a tempo, Son Little started to pound his fist on the dresser and made up the song’s melody on the spot. “I was banging on the dresser, and then I don’t know what happened. There was no melody, no words...and now there is. I know now that if I get part of the melody, a phrase or two, and a tempo, then the rest will follow. So I wanted to follow that pattern for the new songs and let the idea grow from that without worrying about what the production would sound like or which guitar to use. I was more focused on finding the song and the arrangement.”

But, as it happened, the guitar seemed to find him, too. “All those songs in Australia were written with one mic and an acoustic left-handed guitar I was playing upside-down,” he says. “It was borrowed from the Australian singer Gurrumul, a blind Aboriginal musician with this angelic voice. I needed a guitar and he was nice enough to loan it to me; I took it upstairs and all those songs came out of it. You hear people say guitars have songs in them, and that one certainly did.

Whether or not Son Little was aware at the time of the overt connection to his pair of R & B heroes — Stevie and Jimi — that lending presented is unclear. Let’s, again, chalk it up to the magic.“Those two dudes are a little bit alone there; I can’t see how there can be a higher level of musical genius after Stevie and Jimi,” he says. “I do think of both of them as R & B guys, but neither was trying to contain themselves there in any way. They were letting themselves be influenced by other stuff, be it jazz or Latin music or whatever, but they were just making songs and musically doing what felt good. That’s what I wanted to do here. I do see myself that way, in the branches of the R & B river.”

(A quick but magical aside: In the winter of 2015, Son found himself invited to a reading a friend was giving at Electric Lady Studios in New York City, the legendary underground recording facility conceived and once owned by Jimi Hendrix himself. After the event he was invited to spin his debut album on the studio’s speakers, and while it played an employee asked him if he would like to “see the river” — a trickling branch of the seldom seen Minetta Creek that runs under parts of Manhattan. “I put my record on — which was a trip, like I was playing it for Jimi — and we went back in the corner behind where the amps are set up, and they pulled this panel up, and sure enough, there’s running water right under the floor. You can stick your hand in there and get it wet.”)

Flowing water is a recurring theme in Son Little’s music, in addition to its symbolic inspiration. From his debut’s hit “The River” to a lyric in “Mad About You” (“Now you say it’s different, baby/ After I took you to the river”), his work tends to be thematically waterlogged. “My well is fed by the different tributaries, the other water sources that pour into it,” he says. “When you dip your bucket into it, you’re gonna get all kinds of different water. Water behaves that way underground, too; you can dig if you know where it’s at, and there are people, like the Aboriginal water diviner, who can find the water. My music has a kind of magic in it, being connected to whatever those forces are.”

Having been handed the divining rod in Australia, Son Little was able to connect the dots and finish New Magic by early spring. The trio written Down Under form the heart of the album’s vibe, with “Kimberly’s Mine” leading the record off with its Old Blues soap-operatic feel, and “Charging Bull”’s funky, fevered groove and the D’Angelo-inspired R & B minimalism of “Mad About You” — a lovelorn, aching track Son Little claims found itself only when he stripped it down to its barest essentials — holding anchor in the middle. But the song that serves as the album’s true centerpiece is “Blue Magic,” a Philly Soul inspired number deconstructed almost like a rap song or the best of production savants like J Dilla, Madlib, and Sparklehorse’s Mark Linkous, complete with chiming glockenspiel bells and old school female backing vocals. With its origins predating the Australia trip, the song has the appeal of an instant classic, a feeling that did not escape its maker, either.

“I knew ‘Blue Magic’ would be my focal point from the second I made it up,” Son Little says. “I was just goofing around before a show — and I wish I could explain where something like this comes from but I have absolutely no idea — and I was freestyling with the guitar. The thought occurred to me that people were characterizing my music as this new blues thing, even though I was never exactly trying to heroically ‘save the blues’ or anything like that, or even put myself in a place where everything had to be bluesy. But suddenly I’m telling you in the song I’ve got the ‘blue magic,’ and even though there are things called ‘blue magic’ I hadn’t seen that phrase anywhere or heard anyone say it. But I said it, and then there’s a pressure to back it up, to support that claim. I think I’m addicted to that pressure; this thing is hanging in the balance, and the whole thing can go up in smoke if I don’t figure this out and put these pieces together in motion. I enjoy the feeling of not knowing what’s gonna happen from there; it doesn’t always end perfectly but I think you have to resolve that pressure, and not knowing how is really exciting to me. That feeling is somewhat hanging over this whole album: watch me make something out of thin air.”Following that lead are the pair of “Bread and Butter,” a playful, modern take on James Brown, and “The Middle,” a classic drinking-blues, both deconstructed through a filter of musical Cubism. “ASAP” is Son Little’s fiery, direct take on a Hendrix rock and roll song, and “Letter Bound” reminds of a yearning, crooning Bobby Womack joint, with the “little cry” in Son Little’s voice, as Mavis Staples calls it, taking the spotlight. The album ends with the ethereal, gospel-tinged number “Demon to the Dark,” which serves as the singer’s conversation with Washington Phillips, a little known blind musician and church deacon from early in the 20th century whose song “What Are They Doing in Heaven Today” utilized the dulceola, a novelty instrument comprised of two autoharps essentially stuck together. Phillips was a man of strong faith, a deacon in his church, and in his music Son Little found a source of forgiveness as well as an inspiration to carry on. As chiming strains of Omnichord take us out, the electricity in the air is palpable, the belief and trust in the spark at its peak.What is the new magic? How did that deep well get there in the first place, and what is the source water of all these confluents pouring in? To Son Little, there is an attitude running through his makings and his music, a mighty river of superstition and Spanish castles that runneth over. And despite its murky and mysterious origins, the musician’s divination ability is just that — divine.“There is this vein of the blues in it, and it can be distilled or boiled down just to the guitar and voice — or even just the voice,” he says. “And that process of me in my bedroom, making ‘Your Love’ with the dresser as the drum — I did that same thing as I wrote these songs. It’s that same scenario of making something out of nothing. And even if I am capable of doing that, I can’t really explain it. That’s the gist of the magic. I don’t know where it comes from, but it’s there, and I can call on it. I can call on it standing by the dresser, walking down the street, driving a car, on a train, a plane, in a hotel room, in the green room, during an interview...it’s just there. I’m trying to pay tribute to that fact. It’s had a really powerful and in some ways increasingly healing effect on my life. Hopefully other people have that experience with it as well. I’m just happy that it’s there, wherever it comes from.”

There is a fearless quality to the music of Christopher Paul Stelling. A voice that sounds both old and young, an effortless yet intricate finger-picking guitar style and lyrics that are both dramatic, and intensely confessional. It’s a sound that channels the restless spirit of a young man who left home to travel the country, haunting and impassioned songs formed by endless nights alone on stage with a guitar, playing to packed houses, other times to nearly empty rooms. Stelling estimates that he’s played over four hundred shows in just the past three years. It places him within a longstanding tradition that serves to nurture ones character and art.

“It takes a lot of work to stay on the road,” he says. “You learn to rely on your songs as a sort of resting place amidst all of the unfamiliarity. You fill your head full of places, and sounds, and ideas — and it all comes spilling out. When the things around you change constantly, you change too. And the things that stay the same become who you are. It’s nurtured my songwriting, knowing that the inspiration is all around you. If you aren't seeing it, then look harder, and if you still don't see it, then turn the corner, and if you still don't see it then look at things differently, because it's right there in front of you.”

This event is part of the Smithsonian Year of Music. For more information, please visit https://music.si.edu/
City Winery - 1350 Okie St NE, Washington , District of Columbia, 20002City Wineryinfo@citywinery.comfalseDD/MM/YYYY

All your wine questions answered! Sit down with City Winery’s sommelier team and try four amazing wines from around the world. Not only will we go into detail about what you’re drinking, we’ll chat about anything and everything! What should you bring to parties. Should I be drinking Syrah with fish? How long should I age my Chardonnay? Is canned wine okay? This is your chance to ask the experts. Let’s drink and learn together!

MARC ROBERGE is a songwriter/producer and lead vocalist for the American rock band O.A.R.What began as a group of childhood friends making songs in the drummer’s basement after school,O.A.R. became widely... More info

27-02-2019 20:00:0027-02-2019 21:00:00America/New_YorkMarc Roberge of O.A.R. - SOLD OUT - Sign Up For The Waitlist! - 2/27/19

MARC ROBERGE is a songwriter/producer and lead vocalist for the American rock band O.A.R.What began as a group of childhood friends making songs in the drummer’s basement after school,O.A.R. became widely accepted as one of the most successfulindependent bands of all time.

With 13 albums, a string of Madison Square Garden sellouts, USO trips to Iraq and Kuwait, million sof albums sold, shows around the world Roberge and O.A.R. continue to cover new ground creatively.

This event is part of the Smithsonian Year of Music. For more information, please visit https://music.si.edu/
City Winery - 1350 Okie St NE, Washington , District of Columbia, 20002City Wineryinfo@citywinery.comfalseDD/MM/YYYY

Spend a zen-sational evening working with soy-based wax, essential oils, and unique decorative elements to craft custom candles. Our master crafter will guide you and your friends step-by-step through this 2-hour event to make a custom creation perfect for trading, gifting, or treating yourself.

Yaymaker events give you everything you need to get up, get out, and get making! Instruction is provided by a trained host, so no experience is required, and everything you need is supplied. Show up early to grab drinks & a bite to eat–and give your week something to shout about.

Hard-charging riffs, bluesy shouts in the vocals and a rhythm section that makes two-steps into ratcheting rock." - New York Times

"His vocals and accordion continue to drip with top-line Louisiana hot sauce, keeping the good times rolling with energized adaptations of blues and Creole r&b classics." - Downbeat

Clayton Joseph (C.J) Chenier was born September 28, 1957 - the son of the great King of Zydeco, Clifton Chenier.

C.J.'s father was the first Creole musician to win a Grammy Award. C.J. spent his childhood in the tough tenement housing projects of Port Arthur, Texas. His earliest musical influences were an eclectic mix of funk, soul, jazz and Motown, and his first musical instruments were piano, tenor saxophone and flute.

It wasn't until his 21st birthday, after winning a scholarship and studying music at Texas Southern University, that C.J. first performed with his famous father and the legendary Red Hot Louisiana band.

On the road his father showed him how to front a world class touring band - teaching C.J. how to run the family business and how to develop his lifelong passion for music into a career. When Clifton died in 1987, his son said it only felt natural to carry on the legacy - and he stepped up to lead the Red Hot Louisiana Band. He recorded his debut album for the great American independent label, Arhoolie Records. As he told a journalist at the time, he does not try to imitate his father's playing: "I play it the way I play it. All my father really told me was to do the best I could do with my own style." In the following years C.J. would record albums Slash Records and the legendary Chicago label Alligator Records.

Today, C.J. continues to record and rack up honors and awards. This year, he is being honored along with his late friend, Clifford Antone, in the acclaimed Museum of the Gulf Coast's Music Hall of Fame in the Golden Triangle; where he will join the likes of Janis Joplin, Tex Ritter, Percy Sledge, George Jones, Marcia Ball, Johnny Winter, The Big Bopper, ZZ Top and, of course, his father, Clifton Chenier.

This event is part of the Smithsonian Year of Music. For more information, please visit https://music.si.edu/
City Winery - 1350 Okie St NE, Washington , District of Columbia, 20002City Wineryinfo@citywinery.comfalseDD/MM/YYYY

MARC ROBERGE is a songwriter/producer and lead vocalist for the American rock band O.A.R.What began as a group of childhood friends making songs in the drummer’s basement after school,O.A.R. became widely... More info

28-02-2019 20:00:0028-02-2019 21:00:00America/New_YorkMarc Roberge of O.A.R. - SOLD OUT - Sign Up For The Waitlist! - 2/28/19

MARC ROBERGE is a songwriter/producer and lead vocalist for the American rock band O.A.R.What began as a group of childhood friends making songs in the drummer’s basement after school,O.A.R. became widely accepted as one of the most successfulindependent bands of all time.

With 13 albums, a string of Madison Square Garden sellouts, USO trips to Iraq and Kuwait, million sof albums sold, shows around the world Roberge and O.A.R. continue to cover new ground creatively.

This event is part of the Smithsonian Year of Music. For more information, please visit https://music.si.edu/
City Winery - 1350 Okie St NE, Washington , District of Columbia, 20002City Wineryinfo@citywinery.comfalseDD/MM/YYYY

While prohibition wasn’t one of America’s proudest moments, we did get some great stuff out of it. Join us as we discuss the history of prohibition, the ways around it, and what resulted from it. We’ll trying some great spirits that any speakeasy worth its salt would have. Let’s drink and learn about prohibition!